1-25 od 993 razultata

This Gibson Custom Les Paul Axcess Custom solidbody electric guitar takes the Les Paul to a new level of playing ease and sonic dexterity. Dimed, the instrument's dual humbuckers send a volcanic surge of molten tone erupting from your amp. Dial back the gain; it cleans right up. Hit the coil split and you've got chimey spank and sparkle. Sporting the elegant styling of late '50s-era 'Paul Customs, this axe also provides you with a modern "heel-less" neck joint and a weight-relieved body with a comfortable tummy contour, while its rounded neck profile, rolled fingerboard edges, and flawless fretwork serve up buttery playability. Sweetwater guitarists agree: once you play it, you won't be able to resist the addictive allure of the Gibson Custom Les Paul Axcess Custom.

The 810ce Acoustic-Electric Guitar is irresistible. The figured maple binding is a gorgeous upgrade that complements the beautiful hues of rosewood and the sparkling inlay work. The Indian Rosewood used for the back and sides of the 810ce guitar seems like it was created to be on a guitar with its clarity, balance, sustain, and excellent bass response. When paired with Sitka spruce, it is an unstoppable combination in this assertive dreadnought body style. Other features of this outstanding instrument include a bound neck, an Indian rosewood headstock overlay, 800 series fingerboard inlays, an abalone rosette and a Venetian cutaway.
Using propriety pick-up technology developed at Taylor, the expression system amplifies your guitar with an unrivaled natural live sound. On-board tone controls provide added flavor, or set flat for an uncolored, exceptionally clean amplified sound

Visually and sonically, our maple guitars command a striking stage presence. The bright, focused tone makes these guitars a favorite for performance, recording and any band setting, while a variety of color and sunburst options serve to enhance the natural figure in the maple sets we choose. Other signature touches include crisp white binding and our Twisted Oval fretboard inlay motif.
Venetian
People love the clear, full acoustic tone of their Taylors. Why should it be any different when they plug in? That’s why we spent several years developing our own onboard acoustic pickup and preamp. Taylor’s ground-breaking Expression System® (ES) was designed to naturally amplify the warm acoustic sound of your guitar.
The ES is an all-magnetic acoustic guitar pickup system that works like a microphone to produce a pure signal and a warm, natural acoustic sound. When you plug in, you'll hear the sound of your guitar, not the sound of the pickup. No complicated controls. No tone simulators. Just a clean amplified acoustic guitar sound supported by three simple controls — volume, bass and treble.
Years of research brought us to a simple realization: Nothing sounds as true and musical as a microphone. With that as a starting point, Taylor’s David Hosler led the team responsible for the Expression System's breakthrough technology. Utilizing a unique Dynamic Body Sensor® mounted to the soundboard, a Dynamic String Sensor® embedded beneath the fretboard, and a discrete preamp, the advanced ES technology is unlike any other guitar pickup system.
The ES was designed in-house, alongside our acoustic guitars, which allowed us to build the ES seamlessly into the design of the guitar, for an integrated pickup system unlike any other. From the design and location of the body and string sensors to the voicing of the preamp, the ES is fully optimized for the Taylor sound. The elegant design, including the non-intrusive control knobs, also preserves the aesthetic of a Taylor guitar.

The original “dot neck” ES-335 had already set the guitar world alight for half a decade with its powerful blend of archtop finesse and solidbody power by the time the “block neck” came along in 1963, but the first major renovation of the design marked a major milestone in Gibson history nonetheless. Two new refinements, represented here in the Gibson Custom Shop’s 1963 ES-335 Block Reissue, took the seminal semi-hollow guitar to new heights of popularity, and sales spiked as a result. The first alteration was cosmetic: Gibson replaced the ES-335 fingerboard’s dot inlays with blocks, which both eased visibility and added an extra touch of class. The second was a change in playing feel: the guitar’s neck was given the fast, slim profile that was standard for Gibson in the ’60s, and popular with players of all genres. The result was the guitar that Eric Clapton, for one, used to power up blues-rock with the supergroup Cream, and which took the ES-335 in general to new heights of popularity.
The ES-335’s design and construction, revolutionary for its day, gave it a “best of both worlds” appeal that suited it to any imaginable genre of music, from jazz to rock, blues to country. The 1963 ES-335 Block Reissue accurately retains the original construction, with the solid maple center block for superb sustain and resistance to feedback, and arched laminated maple top, back, and sides for added hollowbody-like warmth. The glued-in quarter-sawn mahogany neck with long tenon has a one-piece rosewood fingerboard with a 12” radius and a width of 1 11/16” at the nut, along with classic 24 ¾” Gibson scale length. In addition to these details, the newly revamped 1963 ES-335 Block Reissue also benefits from elements of the Gibson Custom 20th Anniversary Specifications being introduced for 2013. These include double ring Kluson™ Deluxe machine heads, hot-hide glue neck fit, a period-correct Historic Truss Rod assembly with no tubing, a more accurate body and fingerboard binding color, and period-correct Aniline dye for the neck of guitars finished in Faded Cherry. The result is a block-neck ES-335 that is more true to the original of 1963 in look, feel, and tone than ever before.
A period-correct hardware set that includes an ABR-1 Tune-o-matic bridge and lightweight aluminum stopbar tailpiece completes the ’63 specs, and adds to the 1963 ES-335 Block Reissue’s considerable sonic bite through a pair of Burstbucker humbucking pickups, which yield everything from rich vocal-like tones in the neck position, to impressive sting and grind in the bridge, to round, funky tones in between.

There are few guitars as important to the history and development of Gibson as a major manufacturer of six-stringed instruments as the Super 400 and Super 400-CES. The model first appeared in 1934 as an archtop acoustic with no cutaway, simply named the Super 400. As it was then – and still remains today in the Super 400-CES – the Super 400 was the largest guitar the company had ever produced, with an astounding body width of 18 inches. But as Gibson has evolved over the years to adapt to the industry’s ever-changing advancements, so have its Super 400s. The earliest Super 400 models were quite similar to Gibson’s other archtop acoustic, the L-5, and featured a hand-engraved tailpiece and hand-engraved finger rest support, along with an “L-5 Super” truss rod cover. In 1939, the guitar underwent several changes that still remain with it today, including an enlarged upper bout, a new tailpiece similar to the one on the L-5, enlarged f-holes and a venetian cutaway option that is now a standard feature. Although the Super 400s were discontinued during the mid-1940s because of the supply shortages of WWII, Gibson reintroduced the model in 1949. And as Gibson strived to gain an upper hand in the electric guitar market in the early 1950s, the model continued to progress with the eventual introduction of the first electric version.
History
There are few guitars as important to the history and development of Gibson as a major manufacturer of six-stringed instruments as the Super 400 and Super 400-CES. The model first appeared in 1934 as an archtop acoustic with no cutaway, simply named the Super 400. As it was then – and still remains today in the Super 400-CES – the Super 400 was the largest guitar the company had ever produced, with an astounding body width of 18 inches. But as Gibson has evolved over the years to adapt to the industry’s ever-changing advancements, so have its Super 400s. The earliest Super 400 models were quite similar to Gibson’s other archtop acoustic, the L-5, and featured a hand-engraved tailpiece and hand-engraved finger rest support, along with an “L-5 Super” truss rod cover. In 1939, the guitar underwent several changes that still remain with it today, including an enlarged upper bout, a new tailpiece similar to the one on the L-5, enlarged f-holes and a venetian cutaway option that is now a standard feature. Although the Super 400s were discontinued during the mid-1940s because of the supply shortages of WWII, Gibson reintroduced the model in 1949. And as Gibson strived to gain an upper hand in the electric guitar market in the early 1950s, the model continued to progress with the eventual introduction of the first electric version.
The First Super 400s
The Super 400-CES of 1951 featured a pair of Gibson’s legendary P-90 single coil pickups, and while a few Super 400s had been previously custom ordered with the P-90s, the new model was the first dual-pickup production model in the Gibson line, equipped with individual volume and tone controls for each pickup and a three-way toggle switch for switching between pickups. The next significant changes occurred in two years later when the model was upgraded with two of Gibson’s Alnico pickups, although a few continued to be produced with the original P-90s until the stock was depleted. Gibson’s revolutionary Tune-o-matic bridge also made its first appearance on the Super 400-CES in 1953.
Today's Super 400-CES Gibson’s pioneering humbucker pickups, which were also being fitted on the ES-175 and Les Paul Goldtop models, began to appear in earnest on the Super 400-CES in November of 1957. And while several subtle changes were made to the model during the mid-1960s, the Super 400-CES model of the late 1950s is the one faithfully recreated today by the skilled craftsmen of Gibson Custom. The body of the Super 400-CES remains the largest produced by Gibson today, with the following dimensions: 18 (W) X 21¾ (L) X 3⅜ (D). Its top is crafted from high-grade spruce, with high-grade maple used for the back and sides. The body is then adorned with multi-ply black and white binding on both the top and back, with single-ply white binding around the f-holes. The gold hardware includes an ABR-1 bridge with a base made from ebony, and Gibson’s period-correct L-5 tailpiece. The 25½-inch scale length neck is a five-piece neck made primarily from high-grade maple, with two streamers made from high-grade walnut, resulting in one of the most stunning neck designs in the history of Gibson Custom.
Traditional Appointments
The eye-catching neck is topped by a 20-fret ebony fingerboard with pearl block inlays and multi-ply black and white binding, then hand-fitted with Gibson’s traditional ES-rounded neck profile. The pickups are a pair of Gibson’s legendary ’57 Classics, which faithfully capture the unique and subtle variations between coil windings of the original “Patent Applied For” humbuckers of the late 1950s, delivering a warm and full tone with a balanced response. Other appointments include Gibson’s traditional five-piece split diamond motif inlay on the headstock and Schaller M6 tuners. The guitar is available in Vintage Sunburst and Natural finishes, just as they were offered in 1959. They also come with a Gibson Custom case and certificate of authenticity.

Initially produced as an acoustic in 1922 under the direction of famed Gibson luthier Lloyd Loar, the L-5 was Gibson’s first guitar with f-holes. In the 1940s the model became the rhythm box of choice for big band players and later the standard guitar for Wes Montgomery, who would eventually receive a custom model. And it was already one of the world’s most popular guitars when Gibson first electrified the model in 1951.
Gibson put a pair of P-90 single-coil pickups and a rosewood bridge on the first 31 L-5 CES models to emerge from the original Kalamazoo plant in ’51. Although the guitars never went into high production, the company’s engineers continued to work on numerous modifications. In 1958, 21 examples of the classic version of the L-5 CES that’s produced today by Gibson’s Custom Shop emerged, beefed up with two humbucking pickups and an ABR-1 bridge.
History
Initially produced as an acoustic in 1922 under the direction of famed Gibson luthier Lloyd Loar, the L-5 was Gibson’s first guitar with f-holes. In the 1940s the model became the rhythm box of choice for big band players and later the standard guitar for Wes Montgomery, who would eventually receive a custom model. And it was already one of the world’s most popular guitars when Gibson first electrified the model in 1951.
Gibson put a pair of P-90 single-coil pickups and a rosewood bridge on the first 31 L-5 CES models to emerge from the original Kalamazoo plant in ’51. Although the guitars never went into high production, the company’s engineers continued to work on numerous modifications. In 1958, 21 examples of the classic version of the L-5 CES that’s produced today by Gibson’s Custom Shop emerged, beefed up with two humbucking pickups and an ABR-1 bridge.
Body and Neck
Today’s Custom Shop L-5 CES is a truly classic instrument. Its appearance is both imposing and graceful, with a stylish single cutaway, block inlays, and artfully crafted headstock. The headstock is itself a work of art, bearing a pearl inlay inspired by the urns of ancient Greece. Available in wine red, ebony, natural, and vintage sunburst finishes, the L-5 CES has a high-grade spruce top and maple back and rims. Its body is a substantial 17-inches wide, 21-inches long, and 3 3/8-inches deep – dimensions key to its rich, dark, woody tones. Multi-ply binding in black or white accents the top and back, and single-ply white binding outlines the f-holes
The guitar’s neck is made of high-grade maple and walnut supporting a 20-fret ebony fingerboard with pearl block inlays and multi-ply black or white binding. The ES rounded profile neck has a 25 1/2-inch scale length with a 1 11/16-inch width at the nut.
Hardware
The electronics array is pure Gibson, with two ’57 Classic humbucking pickups, two volume knobs, two tone knobs, and a three-way selector switch. The Custom Shop’s L-5 CES is outfitted in all gold hardware and features Schaller M6s tuners. The instrument’s ABR-1 bridge has an ebony base and there’s an artfully rendered L-5 trapeze tailpiece. Each L-5 CES comes strung with Gibson L-5 Electric .012 strings in a Custom Shop case with a certificate of authenticity – testimony to the origin of an instrument that’s truly world class.
Famous Players
Country legend Mother Maybelle Carter and jazzman Eddie Lang made this guitar their own and used it on multiple recordings. A host of other famed guitarists have used the L-5 CES over the decades, including Wes Montgomery, Scotty Moore, Tuck Andress, Pat Martino, Lee Ritenour, Eric Clapton, Paul Simon, Keith Richards, and Ron Wood. Django Reinhardt had even experimenting with electrifying the L-5 before Gibson unveiled the L-5 CES in 1951.

Initially produced as an acoustic in 1922 under the direction of famed Gibson luthier Lloyd Loar, the L-5 was Gibson’s first guitar with f-holes. In the 1940s the model became the rhythm box of choice for big band players and later the standard guitar for Wes Montgomery, who would eventually receive a custom model. And it was already one of the world’s most popular guitars when Gibson first electrified the model in 1951.
Gibson put a pair of P-90 single-coil pickups and a rosewood bridge on the first 31 L-5 CES models to emerge from the original Kalamazoo plant in ’51. Although the guitars never went into high production, the company’s engineers continued to work on numerous modifications. In 1958, 21 examples of the classic version of the L-5 CES that’s produced today by Gibson’s Custom Shop emerged, beefed up with two humbucking pickups and an ABR-1 bridge.
History
Initially produced as an acoustic in 1922 under the direction of famed Gibson luthier Lloyd Loar, the L-5 was Gibson’s first guitar with f-holes. In the 1940s the model became the rhythm box of choice for big band players and later the standard guitar for Wes Montgomery, who would eventually receive a custom model. And it was already one of the world’s most popular guitars when Gibson first electrified the model in 1951.
Gibson put a pair of P-90 single-coil pickups and a rosewood bridge on the first 31 L-5 CES models to emerge from the original Kalamazoo plant in ’51. Although the guitars never went into high production, the company’s engineers continued to work on numerous modifications. In 1958, 21 examples of the classic version of the L-5 CES that’s produced today by Gibson’s Custom Shop emerged, beefed up with two humbucking pickups and an ABR-1 bridge.
Body and Neck
Today’s Custom Shop L-5 CES is a truly classic instrument. Its appearance is both imposing and graceful, with a stylish single cutaway, block inlays, and artfully crafted headstock. The headstock is itself a work of art, bearing a pearl inlay inspired by the urns of ancient Greece. Available in wine red, ebony, natural, and vintage sunburst finishes, the L-5 CES has a high-grade spruce top and maple back and rims. Its body is a substantial 17-inches wide, 21-inches long, and 3 3/8-inches deep – dimensions key to its rich, dark, woody tones. Multi-ply binding in black or white accents the top and back, and single-ply white binding outlines the f-holes
The guitar’s neck is made of high-grade maple and walnut supporting a 20-fret ebony fingerboard with pearl block inlays and multi-ply black or white binding. The ES rounded profile neck has a 25 1/2-inch scale length with a 1 11/16-inch width at the nut.
Hardware
The electronics array is pure Gibson, with two ’57 Classic humbucking pickups, two volume knobs, two tone knobs, and a three-way selector switch. The Custom Shop’s L-5 CES is outfitted in all gold hardware and features Schaller M6s tuners. The instrument’s ABR-1 bridge has an ebony base and there’s an artfully rendered L-5 trapeze tailpiece. Each L-5 CES comes strung with Gibson L-5 Electric .012 strings in a Custom Shop case with a certificate of authenticity – testimony to the origin of an instrument that’s truly world class.
Famous Players
Country legend Mother Maybelle Carter and jazzman Eddie Lang made this guitar their own and used it on multiple recordings. A host of other famed guitarists have used the L-5 CES over the decades, including Wes Montgomery, Scotty Moore, Tuck Andress, Pat Martino, Lee Ritenour, Eric Clapton, Paul Simon, Keith Richards, and Ron Wood. Django Reinhardt had even experimenting with electrifying the L-5 before Gibson unveiled the L-5 CES in 1951.

Initially produced as an acoustic in 1922 under the direction of famed Gibson luthier Lloyd Loar, the L-5 was Gibson’s first guitar with f-holes. In the 1940s the model became the rhythm box of choice for big band players and later the standard guitar for Wes Montgomery, who would eventually receive a custom model. And it was already one of the world’s most popular guitars when Gibson first electrified the model in 1951.
Gibson put a pair of P-90 single-coil pickups and a rosewood bridge on the first 31 L-5 CES models to emerge from the original Kalamazoo plant in ’51. Although the guitars never went into high production, the company’s engineers continued to work on numerous modifications. In 1958, 21 examples of the classic version of the L-5 CES that’s produced today by Gibson’s Custom Shop emerged, beefed up with two humbucking pickups and an ABR-1 bridge.
History
Initially produced as an acoustic in 1922 under the direction of famed Gibson luthier Lloyd Loar, the L-5 was Gibson’s first guitar with f-holes. In the 1940s the model became the rhythm box of choice for big band players and later the standard guitar for Wes Montgomery, who would eventually receive a custom model. And it was already one of the world’s most popular guitars when Gibson first electrified the model in 1951.
Gibson put a pair of P-90 single-coil pickups and a rosewood bridge on the first 31 L-5 CES models to emerge from the original Kalamazoo plant in ’51. Although the guitars never went into high production, the company’s engineers continued to work on numerous modifications. In 1958, 21 examples of the classic version of the L-5 CES that’s produced today by Gibson’s Custom Shop emerged, beefed up with two humbucking pickups and an ABR-1 bridge.
Body and Neck
Today’s Custom Shop L-5 CES is a truly classic instrument. Its appearance is both imposing and graceful, with a stylish single cutaway, block inlays, and artfully crafted headstock. The headstock is itself a work of art, bearing a pearl inlay inspired by the urns of ancient Greece. Available in wine red, ebony, natural, and vintage sunburst finishes, the L-5 CES has a high-grade spruce top and maple back and rims. Its body is a substantial 17-inches wide, 21-inches long, and 3 3/8-inches deep – dimensions key to its rich, dark, woody tones. Multi-ply binding in black or white accents the top and back, and single-ply white binding outlines the f-holes
The guitar’s neck is made of high-grade maple and walnut supporting a 20-fret ebony fingerboard with pearl block inlays and multi-ply black or white binding. The ES rounded profile neck has a 25 1/2-inch scale length with a 1 11/16-inch width at the nut.
Hardware
The electronics array is pure Gibson, with two ’57 Classic humbucking pickups, two volume knobs, two tone knobs, and a three-way selector switch. The Custom Shop’s L-5 CES is outfitted in all gold hardware and features Schaller M6s tuners. The instrument’s ABR-1 bridge has an ebony base and there’s an artfully rendered L-5 trapeze tailpiece. Each L-5 CES comes strung with Gibson L-5 Electric .012 strings in a Custom Shop case with a certificate of authenticity – testimony to the origin of an instrument that’s truly world class.
Famous Players
Country legend Mother Maybelle Carter and jazzman Eddie Lang made this guitar their own and used it on multiple recordings. A host of other famed guitarists have used the L-5 CES over the decades, including Wes Montgomery, Scotty Moore, Tuck Andress, Pat Martino, Lee Ritenour, Eric Clapton, Paul Simon, Keith Richards, and Ron Wood. Django Reinhardt had even experimenting with electrifying the L-5 before Gibson unveiled the L-5 CES in 1951.

Player’s have long asked, “Dare to be different?”
The Les Paul Axcess Standard is more than just “different.” It’s the result of Gibson’s drive to build the best Les Paul Standard possible, while staying true to the design and performance of the iconic Les Pauls of the past.
The new Les Paul Axcess Standard from Gibson Custom carries all the elegant styling, fluid body lines and rocking attitude of a classic Les Paul Standard from the golden era of the late 1950s. Upon closer examination, however, the Les Paul Axcess reveals a handful of upgrades — all modifications made in the name of maximum playability and versatility.
History
For nearly six decades now, Gibson’s Les Paul Standard has stood the test time as the most playable guitar in the world. While others have attempted to imitate it, none have come close to duplicating the qualities of the finest six-stringed instrument on the planet. Yet each year, Gibson attempts to improve on the world’s best guitar. Now we introduce the new Les Paul Axcess Standard from Gibson Custom.
Player’s have long asked, “Dare to be different?” The Les Paul Axcess Standard is more than just “different.” It’s the result of Gibson’s drive to build the best Les Paul Standard possible, while staying true to the design and performance of the iconic Les Pauls of the past.
The new Les Paul Axcess Standard from Gibson Custom carries all the elegant styling, fluid body lines and rocking attitude of a classic Les Paul Standard from the golden era of the late 1950s. Upon closer examination, however, the Les Paul Axcess reveals a handful of upgrades — all modifications made in the name of maximum playability and versatility.
Body and Neck
Encounter the clever structural alteration that gives this new model its name by taking the instrument in your hands and running your fingers up the neck. The Axcess sports what looks from the front to be a traditional Les Paul neck joint, yet the neck heel and portions of the back and neck joint at the upper cutaway have been contoured to provide a “heelless” feel, and an unimpeded reach right up to the 22nd fret. No more stretching against the traditional neck heel to achieve the upper-fret access that your lead style demands — the Axcess gives you that legendary Les Paul playability all the way up the neck, welcoming you to take it right over the top. The one-piece, 24 3/4" scale length, mahogany neck features a 22-fret rosewood fingerboard with pearloid trapezoid fingerboard inlays.
To further enhance playing comfort, this smoothly carved neck joint is combined with a “belly scarf” (aka ribcage contour) that allows the body of the guitar to hug closely to your own body in the playing position without digging in. Add to these contours the Les Paul Axcess’s slightly thinner body, made from weight-relieved mahogany – with a carved maple top available in Iced Tea Burst or Gun Metal Gray finishes and single-ply cream binding on body top – and you’ve got an instrument that is refreshingly light, and a pure joy to play either strapped on, or in a seated position.
Hardware
The most noticeable addition is the Floyd Rose tailpiece, a unit optimized for anything from subtle vibrato wobbles to dramatic, rumbling divebombs. On the Les Paul Axcess Standard the vibrato is installed right at Gibson Custom as part of the manufacturing process, which means this potent piece of high-performance hardware interacts seamlessly with the design of the guitar. Partnered with an R4 locking nut, it also guarantees outstanding tuning stability and return-to-pitch accuracy.
Beyond all these significant considerations for playing feel, the Axcess is also geared toward optimum tone, as you’d expect from any Gibson Custom creation. Exposed-coil super hot 496R and 498T pickups in the neck and bridge positions yield numerous tonal opportunities including ultra crunch and driving singing leads, warm and fluid vocal tones, and fat, sweet growls, while an added push/pull switch on both the treble and rhythm Tone knob provides series parallel coil splitting for accurate single-coil tones without the hum and provides numerous tonal combinations.
These unique tonal combinations excel at delivering everything from singing classic rock lead tones to contemporary crunch to extremes of twang and jangle. Even the pure-nickel wound .10-.46 Gibson Vintage Strings it ships with contribute toward its rich, textured voice. Each instrument also comes with a Gibson Custom hardshell case and certificate of authenticity.

There are few guitars as important to the history and development of Gibson as a major manufacturer of six-stringed instruments as the Super 400 and Super 400-CES. The model first appeared in 1934 as an archtop acoustic with no cutaway, simply named the Super 400. As it was then – and still remains today in the Super 400-CES – the Super 400 was the largest guitar the company had ever produced, with an astounding body width of 18 inches. But as Gibson has evolved over the years to adapt to the industry’s ever-changing advancements, so have its Super 400s. The earliest Super 400 models were quite similar to Gibson’s other archtop acoustic, the L-5, and featured a hand-engraved tailpiece and hand-engraved finger rest support, along with an “L-5 Super” truss rod cover. In 1939, the guitar underwent several changes that still remain with it today, including an enlarged upper bout, a new tailpiece similar to the one on the L-5, enlarged f-holes and a venetian cutaway option that is now a standard feature. Although the Super 400s were discontinued during the mid-1940s because of the supply shortages of WWII, Gibson reintroduced the model in 1949. And as Gibson strived to gain an upper hand in the electric guitar market in the early 1950s, the model continued to progress with the eventual introduction of the first electric version.
History
There are few guitars as important to the history and development of Gibson as a major manufacturer of six-stringed instruments as the Super 400 and Super 400-CES. The model first appeared in 1934 as an archtop acoustic with no cutaway, simply named the Super 400. As it was then – and still remains today in the Super 400-CES – the Super 400 was the largest guitar the company had ever produced, with an astounding body width of 18 inches. But as Gibson has evolved over the years to adapt to the industry’s ever-changing advancements, so have its Super 400s. The earliest Super 400 models were quite similar to Gibson’s other archtop acoustic, the L-5, and featured a hand-engraved tailpiece and hand-engraved finger rest support, along with an “L-5 Super” truss rod cover. In 1939, the guitar underwent several changes that still remain with it today, including an enlarged upper bout, a new tailpiece similar to the one on the L-5, enlarged f-holes and a venetian cutaway option that is now a standard feature. Although the Super 400s were discontinued during the mid-1940s because of the supply shortages of WWII, Gibson reintroduced the model in 1949. And as Gibson strived to gain an upper hand in the electric guitar market in the early 1950s, the model continued to progress with the eventual introduction of the first electric version.
The First Super 400s
The Super 400-CES of 1951 featured a pair of Gibson’s legendary P-90 single coil pickups, and while a few Super 400s had been previously custom ordered with the P-90s, the new model was the first dual-pickup production model in the Gibson line, equipped with individual volume and tone controls for each pickup and a three-way toggle switch for switching between pickups. The next significant changes occurred in two years later when the model was upgraded with two of Gibson’s Alnico pickups, although a few continued to be produced with the original P-90s until the stock was depleted. Gibson’s revolutionary Tune-o-matic bridge also made its first appearance on the Super 400-CES in 1953.
Today's Super 400-CES Gibson’s pioneering humbucker pickups, which were also being fitted on the ES-175 and Les Paul Goldtop models, began to appear in earnest on the Super 400-CES in November of 1957. And while several subtle changes were made to the model during the mid-1960s, the Super 400-CES model of the late 1950s is the one faithfully recreated today by the skilled craftsmen of Gibson Custom. The body of the Super 400-CES remains the largest produced by Gibson today, with the following dimensions: 18 (W) X 21¾ (L) X 3⅜ (D). Its top is crafted from high-grade spruce, with high-grade maple used for the back and sides. The body is then adorned with multi-ply black and white binding on both the top and back, with single-ply white binding around the f-holes. The gold hardware includes an ABR-1 bridge with a base made from ebony, and Gibson’s period-correct L-5 tailpiece. The 25½-inch scale length neck is a five-piece neck made primarily from high-grade maple, with two streamers made from high-grade walnut, resulting in one of the most stunning neck designs in the history of Gibson Custom.
Traditional Appointments
The eye-catching neck is topped by a 20-fret ebony fingerboard with pearl block inlays and multi-ply black and white binding, then hand-fitted with Gibson’s traditional ES-rounded neck profile. The pickups are a pair of Gibson’s legendary ’57 Classics, which faithfully capture the unique and subtle variations between coil windings of the original “Patent Applied For” humbuckers of the late 1950s, delivering a warm and full tone with a balanced response. Other appointments include Gibson’s traditional five-piece split diamond motif inlay on the headstock and Schaller M6 tuners. The guitar is available in Vintage Sunburst and Natural finishes, just as they were offered in 1959. They also come with a Gibson Custom case and certificate of authenticity.

In the Wes Montgomery, Gibson has created a guitar with inherent quality, versatility, and a rich, impressive appearance. It has gained the highest acclaim from professional musicians. Like the legend whose name it wears, it is destined for history. Guitarists everywhere have sung the praises of the comfortable neck, fast easy action, and quick response. Just like its predecessor, the L-5 CES, the Wes Montgomery has a carved spruce top with highly figured maple back, rims, and a 5-piece maple neck. This model features a '57 Classic reissue humbucking pickup placed in the neck position so that anyone playing it can achieve the Wes tone.
One '57 Classic reissue humbucker
Gold hardware
25-3/4" scale
Ebony fingerboard
20 frets
Trapeze inlay
Custom multi-ply black/white/black binding
Carved spruce top

Many working musicians of the fast-paced and musically adventurous ’50s required a new instrument — one that captured traditional Gibson archtop artistry and craftsmanship, but represented a redrawing of the blueprint for the needs of the day. Enter the Byrdland, released in 1955 after consultation with first-call Nashville session musicians Billy Byrd and Hank Garland. Outwardly every bit a Gibson, this model represented a handful of developments that were radical, even revolutionary, in its day.
History
Many working musicians of the fast-paced and musically adventurous ’50s required a new instrument — one that captured traditional Gibson archtop artistry and craftsmanship, but represented a redrawing of the blueprint for the needs of the day. Enter the Byrdland, released in 1955 after consultation with first-call Nashville session musicians Billy Byrd and Hank Garland. Outwardly every bit a Gibson, this model represented a handful of developments that were radical, even revolutionary, in its day.
The Byrdland retained the traditional carved solid-spruce arched top and wide dimensions (17”) of big-bodied jazzers like its predecessor the L-5CES, but was considerably thinner, at only 2 1/4” deep. The electric guitar was here to stay, and Gibson’s designers quite rightly determined that a guitar that was intended primarily as an electric—rather than acoustic—instrument should be made in a way that would minimize feedback. Gibson created the Thinline series, which included the Byrdland partnered by the ES-350T, released the same year. Together they constituted the first of the new thin-bodied breed, and launched a design trend for archtop electrics that would proliferate to this day. So successful was its design ethos, that it not only offered a popular alternative for jazz, pop, and country players, it also proved capable of cranking out heavy rock in the hands of guitarists such as Ted Nugent.
Body
At the request of Billy Byrd and Hank Garland, the Byrdland was made with a reduced scale length, but featured all the finery of a top-of-the-line Gibson archtop guitar. The Byrdland’s super-thin neck and 23 1/2” scale length might have implied a “student model” instrument, but it was intended purely for speed and playing ease, and its five-ply binding, ebony fingerboard with pearl block inlay, gold-plated hardware, and triple-loop Byrdland trapeze tailpiece all single it out as a top-shelf guitar.
Hardware
Originally offered in 1955 with Alnico V single coil pickups, the Byrdland was upgraded to PAF humbucking pickups in 1957, and that remains its most popular incarnation. Coupled to the traditional independent volume and tone controls and a three-way selector switch, these units gave the Byrdland the ability to produce anything from a smooth mellow purr to a hot, cutting twang.
Near-perfect Recreation
The instrument produced today by the Gibson Custom Shop offers the finest original-spec rendition of this classic model that has been available since its production of the late 1950s. From the select maple and walnut used in its neck to the high-grade spruce of its top, no expense is spared in making this thinline electric guitar that Hank Garland and Billy Byrd would be proud of. Details such as the pearl flower-pot headstock inlay, multi-ply fingerboard binding, rounded Venetian cutaway or Florentine cutaway (pictured), multi-ply bound pickguard, bound f-holes, and sculpted fingerboard end are all true to classic form. In the electrics department, a pair of Gibson’s popular ’57 Classic humbucking pickups keep it all sounding as good as it looks. Each Byrdland includes a Custom Shop case and Certificate of Authenticity.

Many working musicians of the fast-paced and musically adventurous ’50s required a new instrument — one that captured traditional Gibson archtop artistry and craftsmanship, but represented a redrawing of the blueprint for the needs of the day. Enter the Byrdland, released in 1955 after consultation with first-call Nashville session musicians Billy Byrd and Hank Garland. Outwardly every bit a Gibson, this model represented a handful of developments that were radical, even revolutionary, in its day.
History
Many working musicians of the fast-paced and musically adventurous ’50s required a new instrument — one that captured traditional Gibson archtop artistry and craftsmanship, but represented a redrawing of the blueprint for the needs of the day. Enter the Byrdland, released in 1955 after consultation with first-call Nashville session musicians Billy Byrd and Hank Garland. Outwardly every bit a Gibson, this model represented a handful of developments that were radical, even revolutionary, in its day.
The Byrdland retained the traditional carved solid-spruce arched top and wide dimensions (17”) of big-bodied jazzers like its predecessor the L-5CES, but was considerably thinner, at only 2 1/4” deep. The electric guitar was here to stay, and Gibson’s designers quite rightly determined that a guitar that was intended primarily as an electric—rather than acoustic—instrument should be made in a way that would minimize feedback. Gibson created the Thinline series, which included the Byrdland partnered by the ES-350T, released the same year. Together they constituted the first of the new thin-bodied breed, and launched a design trend for archtop electrics that would proliferate to this day. So successful was its design ethos, that it not only offered a popular alternative for jazz, pop, and country players, it also proved capable of cranking out heavy rock in the hands of guitarists such as Ted Nugent.
Body
At the request of Billy Byrd and Hank Garland, the Byrdland was made with a reduced scale length, but featured all the finery of a top-of-the-line Gibson archtop guitar. The Byrdland’s super-thin neck and 23 1/2” scale length might have implied a “student model” instrument, but it was intended purely for speed and playing ease, and its five-ply binding, ebony fingerboard with pearl block inlay, gold-plated hardware, and triple-loop Byrdland trapeze tailpiece all single it out as a top-shelf guitar.
Hardware
Originally offered in 1955 with Alnico V single coil pickups, the Byrdland was upgraded to PAF humbucking pickups in 1957, and that remains its most popular incarnation. Coupled to the traditional independent volume and tone controls and a three-way selector switch, these units gave the Byrdland the ability to produce anything from a smooth mellow purr to a hot, cutting twang.
Near-perfect Recreation
The instrument produced today by the Gibson Custom Shop offers the finest original-spec rendition of this classic model that has been available since its production of the late 1950s. From the select maple and walnut used in its neck to the high-grade spruce of its top, no expense is spared in making this thinline electric guitar that Hank Garland and Billy Byrd would be proud of. Details such as the pearl flower-pot headstock inlay, multi-ply fingerboard binding, rounded Venetian cutaway or Florentine cutaway (pictured), multi-ply bound pickguard, bound f-holes, and sculpted fingerboard end are all true to classic form. In the electrics department, a pair of Gibson’s popular ’57 Classic humbucking pickups keep it all sounding as good as it looks. Each Byrdland includes a Custom Shop case and Certificate of Authenticity.

In 1958, the Les Paul went from a simple gold-finished, painted top to a cherry sunburst finish over a carved maple two-piece top. The majority of the tops were actually pretty plain, while others - the ones collectors now pay astronomically high prices for - could be found with beautifully figured, two-piece flamed maple tops. Actually, it was the carved top that set the Les Paul apart from the competition. That continued through the instrument's long and storied history. Now the Les Paul Supreme takes it to the extreme with a carved AAAA maple top and AAA back over a classic mahogany body. The appointments combine both new and vintage flavors for a guitar that can play in any style from country to metal - and anything in between.
1950s style rounded mahogany neck with bound ebony fretboard
The first Les Pauls had huge necks, but by 1960 the neck underwent several modifications until it became what's known as the slim-taper design - which clearly is for wimps, right? If you're going to play a Les Paul, you want something you can really grab onto. The Supreme's neck carve isn't quite as chunky as some of the originals, but it's fatter - and considerably more satisfying - than the '60s slim-taper design. Of course, the neck is mahogany, so it's absolutely rock solid, and the ebony fingerboard is bound for an exceptionally smooth feel. But it still has that warm, classic Les Paul feel, allowing easy access to the upper frets so you can really dig into your solos!
Two vintage-voiced humbuckers for epic tone For 2014, Gibson equips the Les Paul Supreme with a Johnny Smith floating humbucker at the neck. Sonically described as somewhere between a Firebird and a mini-humbucker, this pickup gives you incredible clarity and definition with an acoustic-like vibe. Combined with the 490T humbucker's midrange bite, you've got a wide range of tone for practically any style.

This is as real as they come! Gibson is really digging down deep in it’s own history. Recreating the original building techniques down to the use of hot hide glue to bind the neck and body, authentic truss rod assembly, without the use of the tubing and lastly the authentically wound pickups. With uneven wound count. Buying this guitar is like picking one up from a shop in a dusty mid western town in 1959!
The ES-335’s design and construction, revolutionary for its day, gave it a “best of both worlds” appeal that suited it to any imaginable genre of music, from jazz to rock, blues to country. The 1959 ES-335 Dot Reissue accurately retains the original construction, with the solid maple center block for superb sustain and resistance to feedback, and arched laminated maple top, back, and sides for added hollowbody-like warmth. The glued-in quarter-sawn mahogany neck with long tenon has a one-piece rosewood fingerboard with a 12” radius and a width of 1 11/16” at the nut, along with classic 24 ¾” Gibson scale length. In addition to these details, the 1959 ES-335 Dot Reissue also benefits from elements of the Gibson Custom 20th Anniversary Specifications being introduced for 2013. These include more accurate Kluson™ Deluxe machine heads, hot-hide glue neck fit, a period-correct Historic Truss Rod assembly with no tubing, accurate body and fingerboard binding color, and Aniline dye for the neck of guitars finished in Faded Cherry, and Gibson Custom’s outstanding new Custom Bucker PAF reproductions. The result is a “Dot Neck” that is more true to the original of 1959 in look, feel, and tone than ever before.
A period-correct hardware set that includes an ABR-1 Tune-o-matic bridge and lightweight aluminum stopbar tailpiece completes the ’59 specs, and adds to the 1959 ES-335 Reissue’s considerable sonic bite through a pair of Custom Bucker pickups. Made with Alnico III magnets and unequal turns of 42 AWG wire in each of their two coils, like the legendary Gibson PAF humbuckers, the Custom Bucker offers that legendary blend of warmth, depth, and bite found in the most desirable vintage humbucking pickups. The entire package is superbly playable right out of its Custom Shop hardshell case thanks to a trip through one of Gibson’s state-of-the-art Plek machines before leaving the Custom Shop floor.
Body: Plain maple top, back and sides
Weight: 8.42 lbs
Inlay: MOP Dot
Controls: 2 volume, 2 tone, 3 way selector switch
Neck Material: 1-piece mahogany
Scale: 24 3/4"
Case Included: Custom Shop case
Neck Joint : Long neck tenon
Nut Width: 1 11/16"
Fingerboard: Rosewood
Pickups : 57 classics
Neck Profile: '59 rounded
Bridge: ABR-1 Bridge
Frets: 22
Binding : Single-ply cream on top and back

In the Wes Montgomery, Gibson has created a guitar with inherent quality, versatility, and a rich, impressive appearance. It has gained the highest acclaim from professional musicians. Like the legend whose name it wears, it is destined for history. Guitarists everywhere have sung the praises of the comfortable neck, fast easy action, and quick response. Just like its predecessor, the L-5 CES, the Wes Montgomery has a carved spruce top with highly figured maple back, rims, and a 5-piece maple neck. This model features a '57 Classic reissue humbucking pickup placed in the neck position so that anyone playing it can achieve the Wes tone.
One '57 Classic reissue humbucker
Gold hardware
25-3/4" scale
Ebony fingerboard
20 frets
Trapeze inlay
Custom multi-ply black/white/black binding
Carved spruce top

Initially produced as an acoustic in 1922 under the direction of famed Gibson luthier Lloyd Loar, the L-5 was Gibson’s first guitar with f-holes. In the 1940s the model became the rhythm box of choice for big band players and later the standard guitar for Wes Montgomery, who would eventually receive a custom model. And it was already one of the world’s most popular guitars when Gibson first electrified the model in 1951.
Gibson put a pair of P-90 single-coil pickups and a rosewood bridge on the first 31 L-5 CES models to emerge from the original Kalamazoo plant in ’51. Although the guitars never went into high production, the company’s engineers continued to work on numerous modifications. In 1958, 21 examples of the classic version of the L-5 CES that’s produced today by Gibson’s Custom Shop emerged, beefed up with two humbucking pickups and an ABR-1 bridge.
History
Initially produced as an acoustic in 1922 under the direction of famed Gibson luthier Lloyd Loar, the L-5 was Gibson’s first guitar with f-holes. In the 1940s the model became the rhythm box of choice for big band players and later the standard guitar for Wes Montgomery, who would eventually receive a custom model. And it was already one of the world’s most popular guitars when Gibson first electrified the model in 1951.
Gibson put a pair of P-90 single-coil pickups and a rosewood bridge on the first 31 L-5 CES models to emerge from the original Kalamazoo plant in ’51. Although the guitars never went into high production, the company’s engineers continued to work on numerous modifications. In 1958, 21 examples of the classic version of the L-5 CES that’s produced today by Gibson’s Custom Shop emerged, beefed up with two humbucking pickups and an ABR-1 bridge.
Body and Neck
Today’s Custom Shop L-5 CES is a truly classic instrument. Its appearance is both imposing and graceful, with a stylish single cutaway, block inlays, and artfully crafted headstock. The headstock is itself a work of art, bearing a pearl inlay inspired by the urns of ancient Greece. Available in wine red, ebony, natural, and vintage sunburst finishes, the L-5 CES has a high-grade spruce top and maple back and rims. Its body is a substantial 17-inches wide, 21-inches long, and 3 3/8-inches deep – dimensions key to its rich, dark, woody tones. Multi-ply binding in black or white accents the top and back, and single-ply white binding outlines the f-holes
The guitar’s neck is made of high-grade maple and walnut supporting a 20-fret ebony fingerboard with pearl block inlays and multi-ply black or white binding. The ES rounded profile neck has a 25 1/2-inch scale length with a 1 11/16-inch width at the nut.
Hardware
The electronics array is pure Gibson, with two ’57 Classic humbucking pickups, two volume knobs, two tone knobs, and a three-way selector switch. The Custom Shop’s L-5 CES is outfitted in all gold hardware and features Schaller M6s tuners. The instrument’s ABR-1 bridge has an ebony base and there’s an artfully rendered L-5 trapeze tailpiece. Each L-5 CES comes strung with Gibson L-5 Electric .012 strings in a Custom Shop case with a certificate of authenticity – testimony to the origin of an instrument that’s truly world class.
Famous Players
Country legend Mother Maybelle Carter and jazzman Eddie Lang made this guitar their own and used it on multiple recordings. A host of other famed guitarists have used the L-5 CES over the decades, including Wes Montgomery, Scotty Moore, Tuck Andress, Pat Martino, Lee Ritenour, Eric Clapton, Paul Simon, Keith Richards, and Ron Wood. Django Reinhardt had even experimenting with electrifying the L-5 before Gibson unveiled the L-5 CES in 1951.

Many working musicians of the fast-paced and musically adventurous ’50s required a new instrument — one that captured traditional Gibson archtop artistry and craftsmanship, but represented a redrawing of the blueprint for the needs of the day. Enter the Byrdland, released in 1955 after consultation with first-call Nashville session musicians Billy Byrd and Hank Garland. Outwardly every bit a Gibson, this model represented a handful of developments that were radical, even revolutionary, in its day.
History
Many working musicians of the fast-paced and musically adventurous ’50s required a new instrument — one that captured traditional Gibson archtop artistry and craftsmanship, but represented a redrawing of the blueprint for the needs of the day. Enter the Byrdland, released in 1955 after consultation with first-call Nashville session musicians Billy Byrd and Hank Garland. Outwardly every bit a Gibson, this model represented a handful of developments that were radical, even revolutionary, in its day.
The Byrdland retained the traditional carved solid-spruce arched top and wide dimensions (17”) of big-bodied jazzers like its predecessor the L-5CES, but was considerably thinner, at only 2 1/4” deep. The electric guitar was here to stay, and Gibson’s designers quite rightly determined that a guitar that was intended primarily as an electric—rather than acoustic—instrument should be made in a way that would minimize feedback. Gibson created the Thinline series, which included the Byrdland partnered by the ES-350T, released the same year. Together they constituted the first of the new thin-bodied breed, and launched a design trend for archtop electrics that would proliferate to this day. So successful was its design ethos, that it not only offered a popular alternative for jazz, pop, and country players, it also proved capable of cranking out heavy rock in the hands of guitarists such as Ted Nugent.
Body
At the request of Billy Byrd and Hank Garland, the Byrdland was made with a reduced scale length, but featured all the finery of a top-of-the-line Gibson archtop guitar. The Byrdland’s super-thin neck and 23 1/2” scale length might have implied a “student model” instrument, but it was intended purely for speed and playing ease, and its five-ply binding, ebony fingerboard with pearl block inlay, gold-plated hardware, and triple-loop Byrdland trapeze tailpiece all single it out as a top-shelf guitar.
Hardware
Originally offered in 1955 with Alnico V single coil pickups, the Byrdland was upgraded to PAF humbucking pickups in 1957, and that remains its most popular incarnation. Coupled to the traditional independent volume and tone controls and a three-way selector switch, these units gave the Byrdland the ability to produce anything from a smooth mellow purr to a hot, cutting twang.
Near-perfect Recreation
The instrument produced today by the Gibson Custom Shop offers the finest original-spec rendition of this classic model that has been available since its production of the late 1950s. From the select maple and walnut used in its neck to the high-grade spruce of its top, no expense is spared in making this thinline electric guitar that Hank Garland and Billy Byrd would be proud of. Details such as the pearl flower-pot headstock inlay, multi-ply fingerboard binding, rounded Venetian cutaway or Florentine cutaway (pictured), multi-ply bound pickguard, bound f-holes, and sculpted fingerboard end are all true to classic form. In the electrics department, a pair of Gibson’s popular ’57 Classic humbucking pickups keep it all sounding as good as it looks. Each Byrdland includes a Custom Shop case and Certificate of Authenticity.

Today’s Les Paul Custom is based on the model from the mid-1950s, but with several modern appointments. The body is crafted with a hand-carved maple top, which is fitted to a body made from a solid piece of mahogany with strategically routed holes to lessen the weight of the guitar, resulting in a Les Paul with enhanced acoustic qualities and improved resonance. The 24 ¾-inch scale length neck is also made from one solid piece of mahogany then topped by a 22-fret Richlite® fingerboard outfitted with pearl block inlays and given Gibson’s traditional rounded profile. The pickups are Gibson’s 490R in the neck position, which offers the tonal characteristics of the original PAFs, and the 498T in the bridge position, which swaps the 490R’s Alnico II magnet for an Alnico V, thus making it slightly hotter with emphasis on mid-ranges and highs. Other appointments include Gibson’s legendary Nashville Tune-o-matic bridge and stopbar tailpiece, metal tulip tuners, multi-ply white and black binding on both the top and back, gold hardware and a 1 11/16” nut width. The Les Paul Custom is available in Antique White, Ebony, Heritage Cherry Sun Burst, Wine Red and Silver Burst, and each guitar comes with the standard Gibson Custom case and certificate of authenticity.